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PHOT 154 – History of Photography | Final Quiz Study Guide

Posted in PHOT 154 by Paul Turounet on July 23, 2010

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Final Quiz Study Questions

Image Identification

Selection of 10 images (click on image to enlarge)

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Questions – Selection of 5 questions from Chapter Summaries | Quizzes

Name the two people who were “recognized” for inventing photography in 1839?  What were their key discoveries?  What was their relationship to each other?  (Chapter 1 – Question #4)

Discuss the following issues and considerations with the early photographic work of William Henry Fox Talbot:  What was the observed symbolic nature of his photograph, The Open Door?  What was the significance of his photograph, The Haystack?  What was The Pencil of Nature?  (Chapter 2 – Question #3)

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What type of photographs were known as “living pictures” and were popular subjects for early photographers?  Who made the most famous “High Art” photograph at the time (include title) and describe the photograph?  Why was it recognized as such an important photograph?  (Chapter 3 – Question #5)

Identify four reasons why photographs were made by photographers who accompanied the various topographical survey teams of  the American West?  (Chapter 4 – Question #5)

In considering the types of ethnographic photography done at the time, how were women from the Middle East and Asia depicted?  Specifically, what was the strategy (how and where) photographers used in making these photographs?  What does the term “Orientalism” mean?  (Chapter 5 – Question #3)

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What is name of the photographic movement that gathered strength in the mid-1880’s and lasted into the 1920’s?  What is the  name of the painting movement that is was associated with?  Name the photographer who’s ideas about photography contributed to the start of this photographic movement?  Describe the types of subject matter and what these photographs typically looked like by photographers of this movement:  (Chapter 6 – Question #4)

In the last decades of the 19th-century, photography was no longer associated with the new and sudden social shifts.  Instead, the modern world was denoted by what significant changes and movements?  Name the two most important photographers who used photography as a means of social reform and what was the subject matter of their photographs to change public opinion?  (Chapter 7 – Question #2)

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What did artists involved with the Dada movement envision their art would express and through the visual arts and performances, what did Dada artwork accentuate?  What was the key medium of the Berlin Dadaist’s and describe the process?  Though the origins of this process have been debated, name the two earliest Dada artists to use this process:  (Chapter 8 – Question #4)

What was the official known name of the section of the photographic activity of the Farm Security Administratiion (F.S.A.) during the Depression?  Who supervised and directed the section?  What was the purpose of section?  Name four photographers hired by the F.S.A. discussed in the chapter:  (Chapter 9 – Question #2)

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What was the title of the large 1955 exhibition mounted at New York’s Museum of Modern Art?  Who was the head of the museum’s photography department and organized the exhibition?  What did the museum director do with the images to generate an impression of global unison?  What did the museum director hope the exhibition would illustrate?  What was the response to the show by the public and by some photographers?  (Chapter 10 – Question #1)

What did the idea and appearance of The Social Landscape signify?   Name the three photographers who were included in the exhibition entitled New Documents? What was the title of the influential 1975 exhibition about the approach to landscape photography?  (Chapter 11 – Question #4)

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What did Spanish photographer and critic Joan Fontecuberta point out about previous technological improvements in photography?  What did he caution as well as reason about photography since its inception?  What does the work in The Dystopian Series by Aziz and Cucher capture?  (Chapter 12 – Question #3)

Who coined two terms that were much discussed in photographic criticism and what is the title of the book from which they were introduced?  What are the two terms and what did they designate? What was the term used to characterize this new period?  In art circles, what did this art movement in photography come to mean?  (Chapter 13 – Question #3)

What photographs kindled “what is perhaps the largest worldwide public interpretation of photographs?  What was the range of views about the significance of what the photographs represented?  In what mode and specifically, what technique(s) were used in the making of most of these photographs?  What was the initial intent/purpose of these photographs?  (Chapter 14 – Question #1)

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